S 


LIBRARY 


M. KNOEDLER & CO. 
556-8 FIFTH AVE. 
NEW YORK 


rt props 


2 is is 4 
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‘Ebscrbea. in es 
- » Hughes Pai $2 »300 for. “Hiarvgst” 


4 ‘Hyening 
| eile * 


Bring — ‘$30,800 at 
Amerie Galleries, 


Thirty paintings by the late William | 

~ Keith, of California, brought $30,800 | 

awit yesterday at\ their sale in the Anderson! 

- Galleries.. The sale was attended by | 
many collectors, and the bidding was 
brisk, fs 
' “Golden Heritage,” a midsummer. 
landscape showing a shallow stream | 
amid a grove of “great, limped trees, | 

_ brought the top price of the day. H, M. 

Kittredge paid $4,900 for the canvas. | ~ 
The next best price was $3,200, paid 
by E. J. Sherman for “The Oaks,” an- | 
other landscape. R. H.c Hughes gave! 
$2,500 for “Harvest,” and for $2,300 R. 
Griswold obtained “Carniel Bay,” a 
typical California landséape. “April 
Showers” and “The Shepherd and His 
Flock” werebought by R. C, Hughes for 
$1,450 and $1,200, respectively. 
Richardson _ gave $1,450 for” i 
tion,” another landscape. ; 


EP 


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a 
= 
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a 


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c “tor 44.900, ‘he 
Ay a mid- 
sd, painted in 
was a shallow 
e, with drowsy cows 
‘o ' Coisrlegla of 


2? MoDougall 
Ch alt.os¢ 8 $210 
be,” R. Grant. 435 
a G. Keene... 435 
: aad - c. Hughes. . ; , 1,200 
ge of the Woods,” 
g pean ie 285 
i 8, anew Pn 4 
ote SP LS by es 4s 400 


LOR OES 400 

‘fn IRS CS 226 
uric ti sya 1,450 
ie aS 550 
Aiea 400 

yi HARE iiiveacrhida ss. 1200, 


Pere. Lil 
“oo anne aie me 
4 


eae eene 


< 960: 

Dee Gamer As 9s tts 

“Near San Rafael,” " 

a eae ish ocmint 1. 8/288 
iden rite,” H. M.. Kitt- 


ener renee? 


$ ea. ‘Hikins.. 1,100 
re bene ots Mi. iceoler. <<. "700 
ek ee eet ¥ own in other spring 


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<< ove Dal Via —— ee 


APR 24 1916 


Ne A. Vanes 499-46 


There will be sold this afternoon at. 
the Anderson Galleries a group of thir-| 
‘Reith andscapes by the late William 
eith, who was born in Seotland, but 
ais bis chai was saentined with Cal- 
-ifornia. It was a long career that he 
sere ed in that part of the world, 
ie he became a kind of local classic. 
Rather late in life he made his work 
better known in.the Hast. It was good 
work, Bee because it was based on a. 
close. stp dy of nature, and, even pen 
Panes iniagingtive conception of art. 
Bont was a romanticist who fe are 
between the fervid glamours Diaz 
and the solider ideal of our own George 
Inness. Without the genius of either | 
of those masters, he missed one great. 
virtue characteristic of them both—' 
that instinet for the definition of form 
which will give to a tree, for example, 
all its individual character. On the 
other hand, he had something of their 
gift fer color, and, above all, their feel- 
Ing for landscape as a world of rich, | 
romantic beauty. The pictures in the) 
“present exhibition just fall short of the 
weight, the distinction, of work of the 
high est rank, but they are neverthe- ' 


ss full of ae full of a _ kindling | 

emotion. A painting like “The Mead- | 
ow” (No. 22) is delightfully significant 
of his best traits—his pictorial faculty, | 
his breadth and his sentiment. It is al 
little more beguiling, perhaps, than any } 
ef its companions, yet there is not one , 
of the latter which is lacking in the | 
‘note of sylvan intimacy which it so tri-. 
umphantly sounds. Keith’s pictures are 
‘good to live with, happy interpreta- | 
tions, sympathetically personal impres- | 
sions. We are glad this collection of | 
them has been brought to New York 
aad. hepe it will stay here. | . 


(fees tr frsg +z) 


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THIRTY PAINTINGS | 


| BY THE LATE 


3 WILLIAM KEITH 


_ 


wands 


po BY THE ARTIST’S SON 


_ a 


er MR. CHARLES W. KEITH 


a of California 


: ; Important Landscapes i in ane Best Style 
3 — = vi this distinguished Artist 


<a Bes TO BE SOLD 


z SATURDAY AFTERNOON, APRIL 22nd, 1916 
aa . Ati 2230 o'clock 


THE ANDERSON GALLERIES 


Mapison AVENUE AT FortietH STREET 


New YORK 


WILLIAM KEITH 


WILLIAM KEITH, ARTIST AND MAN 


(An Excerpt from an Article by R. W. Macbeth) 


Keith. He was born in Old Meldrum, Aberdeenshire, 
Scotland, in November, 1839, a member of the Keith fam- 
ily that still owns a feudal castle in the highlands. His early 
boyhood was spent on this estate near Cowie, but when he was 
about 12 years old the family removed to New York. Here he 
at first had a position—much against his will, apparently—in a 


F artists have had a more interesting career than Mr. 


lawyer's office, and in his spare moments began the study of wood 
engraving. He soon decided to devote his entire time to his art, 
and after working for a year or two as an apprentice, he secured 
a position with Harper's Weekly and Harper's Monthly. He 
served these periodicals until 1859, when he went to California 
to live. Until the art of photo-engraving made his trade un- 
profitable, he was employed continually, but he soon found he 
could not compete with the cheaper and more rapid method of 
making reproductions, and began to turn his attention to outdoor 
work. 


At first he made pencil sketches only, but gradually worked 
into water colors, and found such a ready sale for his sketches 
that in 1869 he was enabled to go abroad to study the foreign 
masters. For more than a year he studied in Dusseldorf, gaining 
valuable training in the fundamentals, and then crossed to Boston. 
But he continually heard the call of the West, and so he returned 
to California in the seventies. Since then he has repeatedly 
crossed the ocean, seeing almost all of the world-famous collec- | 
tions, and meeting many of the leading artists of all schools, but 
it was California that had originally stirred him to paint, and it 
was to California that he returned after each trip for new in- 
spiration. 

All artists and collectors who visited the coast felt their stay 
incomplete without a visit to the Keith studio, and they were all 
cordially weleomed—when he was in the mood. George Innes 
lived a his studio during a rather protracted visit to the coast, 


and there are those who profess to see a change in Mr. Keith’s 
work from then on. It is true that to some degree, at least, they 
both saw nature in the same way; but Mr. Keith saw it that way 
before Mr. Innes made his appearance in the West, and those who 
know Mr. Keith’s work through its many phases, realize that it 
shows not a change, but a regular progression, getting more and 
more nearly to his ideal of what a picture should be with each 
succeeding year. 


In the fire in 1906, not only was the Keith studio destroyed, 
but in it at the time were many of his paintings and sketches. He 
also lost a great number of personal gifts of his friends, and it 


was the loss of these that seemed to affect him most. One of his ~ 


great brass bowls was rolled out into the street by some men 
who tried to save what they could from the flames. After the fire 
it was one of the first things that Mr. Keith searched for, and it 


was not until he had given up the search that it was discovered, | 
blackened, but otherwise unhurt, in the middle of a street some 


distance from his home, where it had been abandoned. 

Mr. Keith was not discouraged by the fire. He at once set 
about painting new canvases with a vigor and enthusiasm un- 
daunted by nearly seventy years of constant effort, and some of 
the best paintings that now represent him in private and public 


collections owe their being to the few vears that have elapsed . 


since 1906. 


‘My subjective pictures,” said the artist on one occasion, “are 
the ones that come from the inside. I feel some emotion and I 
immediately paint a picture that expresses it. The sentiment is 
the only thing of real value in my pictures, and only a few people 
understand that. Suppose I want to paint something recalling 
meditation or repose. If people do not feel that sensation when 
my work is completed, they do not appreciate nor realize the 
picture. The fact that they like it means nothing. Anyone who 
can use paint and brushes can paint a true scene of nature—that 
is an objective picture. The artists must not depend on extrane- 
ous things. There is no reality in his art if he must depend on 


. *. . a ’ . 
outside influences—it must come from within. You don’t like 


that picture?” he asked. ““Well, I don’t care; it’s good, anyway | 


—it’s a crackerjack. You say it’s irritating, and that proves it 


- 4 


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Golaly A 


pe ORE TS ee ie 


is good, because it made an impression. If it didn’t arouse any 
feeling in you at all, it would be worthless. And, I tell you, if 
you had that picture around all the time, and saw it every day, 
you would grow to like it—you couldn’t help it.” 


With such a philosophy it is natural that Keith’s pictures are 
those painted in the studio, rather than in the open; but they are 
based on a long and intimate knowledge with the great California 
out-of-doors, and his subjects, in almost every case, find their 
groundwork in some beautiful spot not far from his Berkeley 
home. His mood, judged from his paintings, was variable, now 
quiet and dignified, and transmitted to us in those warm, soft 
greens, that are among the most delightful things that he ever 
did; and again, disturbed and turbulent, piling great white and 
amber clouds upon each other until his very skies reflected those 
emotions to which his brush gave utterance. 


hein 1411- Berbetey ~ So ee 


CONDITIONS OF SALE 


1. All bids to be PER LoT as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be resold, but the Auctioneer will use his judgment as to 
the good faith of all claims and his decision shall be final. He also 
reserves the right to reject any fractional or nominal bid which in 
his judgment may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such 
cash payments on account as may be required, in default of which 
the lots purchased to be resold immediately. 

4. The lots to be taken away at the buyer’s expense and risk with- 
in twenty-four hours from the conclusion of the sale, and the re- 
mainder of the purchase money to be absolutely paid on or before 
delivery, in default of which The Anderson Galleries, Incorporated, 
will not be responsible if the lot or lots be lost, stolen, damaged, or 
destroyed, but they will be left at the sole risk of the purchaser, and 
subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the- 
settlement of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending pur- 
chasers, and The Anderson Galleries, Incorporated, will not be re- 
sponsible for the correctness of the description, authenticity, genu- 
ineness, or for any defect or fault in or concerning any lot, and 
makes no warranty whatever, but will sell each lot exactly as it is, 
WITHOUT RECOURSE. But upon receiving before the date of sale, ex- 
pert opinion in writing that any lot is not as represented. The An- 
derson Galleries, Incorporated, will use every effort to furnish proof 
to the contrary, and in default of such proof the lot will be sold sub-. 
ject to the declaration of the aforesaid expert, he being liable to the 
owner or owners thereof for damage or injury occasioned by such 
declaration. 

7. TERMS CASH. Upon failure to comply with the above condi- 
tions any sum deposited as part payment shall be forfeited, and all 
such lots as remain uncleared after twenty-four hours from the con- 
clusion of the sale, will be resold by either private or public sale at 
such time as The Anderson Galleries, Incorporated, shall determine, 
without further notice, and if any deficiency arises from such re- 
sale it shall be made good by the defaulter at this sale together with 
all the expenses incurred thereby. This condition shall be without 
prejudice to the right of The Anderson Galleries, Incorporated, to 
enforce the contract with the buyer, without such re-sale. 

8. Bips. We make no charge for executing orders for our cus- 
tomers and use all bids competitively, buying at the lowest price per- 
mitted by other bids. 

9. The Anderson Galleries, Incorporated, will afford every facility 
for the employment of carriers and packers by the purchasers, but 
will not be responsible for any damage arising from the acts of such 

earriers and packers. 


Priced Copy of this Catalogue may be secured for 50 cents. 


The Anderson Galleries 


Incorporated 


MADISON AVENUE AT FORTIETH STREET, NEw YorK. 


TELEPHONE, MurrRAY HI, 7680 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN. 


ide Jeg Cn CHA, ie 


A COLLECTION OF 
IMPORTANT PAINTINGS 


BY THE LATE 


WILLIAM KEITH 


AMERICAN 1839—1911 


Saturday Afternoon, April 22nd, 1916 
At 2.30 o’clock 


JOO ~ 


4 halo 5 oo SKETCH 
Panel. Height, 5% inches; width, 8 inches. A 0 ‘ 
2 
ae SKETCH 
Wht Ch KAO 
Panel. Height, 5% inches; nidth, 8-inches. 
BE en 


GO+ Wn. brett 3 


/ 


Cattle in a green landscape, with rolling hills and willow trees, © GX 
beside a small stream. 


Canvas. Signed. JTeight, 6 inches; nidth, 14 inches. 


A. 


PAS 


Canvas. Signed. Height, 10 inches; width, 12 inches. 
Ya, o 
J WM ‘het 7 


WOODS IN AUTUMN WeXX 


4 


veut’ ic 4 


iP UY KasuHe 5 a 
4210 4 ice fs ae | ; 
' ~« AN AUTUMN WOOD ; a 
7] xX X Brown and gold in deep tones free and broad in treatment. 
Canvas. Signed. Height, 10 inches; width, 13 inches. ~ 


SO Ip. Riaduialh 6 
S! 
THE WOODLAND POOL 
“f St X An autumn landscape. 


Academy Board. Signed. Height, 7 inches; midth, 9 inches. 


_ VOM » os 7 
is Ft ‘Ve si ghh 
JIS THE PROMISED LAND 
DX A party of pioneers in a wooded glen surrounded by tall trees, 


through which there shows clear sky in a gleaming spot of light. 


Canvas. Signed. Height, 9 inches; nidth, 21 inches. 


NGS 4 SPRING LANDSCAPE 


Ysx In tones of green with cows peacefully grazing at the edge of 
a wood. : 


Canvas. Signed. Height, 151% inches; width, 23 inches. 


. 
f_ 9 
4 Aeesnre 
HIS A GREEN KEITH 
VW), SX A cabin in a grove, a small stream flowing through the fore- 


ground. 
Canvas. Signed. Height, 16 inches; width, 24 inches. 
8 


[SS e eee, oy 


10 


zt £400 | GOLDEN HOUR 


Slim, graceful trees border a placid stream whose waters are 
peopled with myriad shapes and forms of shadowland. At the 
foot of a slender sapling in the left foreground rest a man and 

iene’ a woman lost to everything save the transcendent beauty of the 
sun’s departure. Like a blazing ball it hangs low in the western 
sky, its brilliant orange light spilling into the water beneath in 
a cascade of molten fire, while leaves and grasses catch the shin- 
ing glow in points of flame. Across the stream a flock of sheep 
graze quietly in the shelter of the trees. The artist has plucked 
a golden jewel from Nature’s changing crown and placed it, pal- 
pitating, in a canvas setting. 


Canvas. Signed. Height, 20 inches; width, 30 inches. 
oO 5 3 


11 


bd AT THE EDGE OF THE WOOD 


yg A Daf F, 
he Pon4engh F4 tHhth ; 
(A wind-swept upland pasture through which cattle are slowly 


wending their way. A grove dense with foliage, casting deep 

shadows, borders the side. A blue sky with the gleam and glow 

of a setting sun through the trees complete a charming canvas. 
Canvas. Signed. Height, 16 inches; nidth, 30 inches. 


J 


FED 


12 


KOO 7 
4. thoutfns VALLEY IN THE FOOTHILLS d 
Yf os X Color, rich and glorious, characterizes this painting. Earth and 


trees and sky seem to have been united in harmony to express 
the artist’s delight in the out-of-doors in autumn, gray clouds, 
and big fleecy white ones drift over the red and gold and brown 
of tree and shrub, the limpid water alone remaining unchanged 


with the changing season. 


Canvas. Signed. Height, 16 inches; width, 24 inches. 


Ke = 

O 

Cy IM. Vu NHISPERS-OF AUTUMN 

PL XX A California landscape in the gold of autumn, with Mt. Diabolo 


in the distance shrouded in purple haze. The trees and foliage 
and the gentle slope in the foreground under the blue sky where 
fleecy clouds are floating are treated in the style in which Keith 
excelled. A romantic road skirts the foothills and reaches away 


across the sunlit valley. 


Canvas. Signed. Height, 1634 inches; width, 22 inches. 


Baa i 
QO | YOSEMITE VALLEY 
The crags and peaks of the Yosemite have inspired many an 
artist to attempt to reflect their wonders upon his canvas, but 
few have succeeded as has Keith in this admirable painting. The 
tall pines seem dwarfed by the side of the giant rocks which 
tower above them. The Bridal Veil Falls and the Lower Fall 
are too well known to require description. 


Canvas. Signed. IJleight, 34 inches; width, 27 inches. 


10 


A MIO 4 hh coms 


MEDITATION 


Two figures seated at the foot of a giant oak with a third stand- 
ing near by, all three seemingly lost in thought, give this picture 
its title. The gloom of early dusk permeats the heart of the 
grove with mystery, and the interlacing branches of the great 
trees form an intricate network against the darkening blue sky. 
Through this network a faint light filters, centering on the white 
garments of the women below. ‘To the left flows a quiet river, 
sunk deep between walls of rank meadow grass. The scene is 
full of the beauty of evening, and is handled with the sure, poetic 
grace of the-master. 


Me 


Canvas. Signed. Height, 22 inches; nidth, 28 inches. 


CATTLE IN AN AUTUMN WOOD 
Beside a small pool, the figure of a woman with a child in her 
arms is seen at the foot of a tree beside the water. The brush 
work is broad and free in this canvas, the tones characteristically 
“Keith brown.” 


Canvas. Signed. Height, 22 inches; width, 28 inches. 
pe g 


1] 


parleen ty DA foe 


AOO + yb duley i 


poy fat SPRING IN MARIN COUNTY 


ee 


A fairy carpet of green dotted with wild flowers fills the fore- 
ground, which is cut by a straggling road which leads onward 
over the bend in the hill toward the majestic blue mountain in 
the background. Rugged rocks and trees are on either side of _ 
the ,road and fleecy white clouds swim in the clear blue of the 
sky} The scene is a lonely one, but it is handled with the poetic 
grace of a master—a lover of Nature in all her aspects. 


+ Academy Board. Signed. 
, TTeight, 19% inches; width, 2534 inches. 


BOO =f M. % / 4 hie 18 


( 
QWMfr THE SHEPHERD AND HIS FLOCK 


Down through a shadowy ravine a shepherd is driving his flock 
of sheep. On all sides rise the immense oaks Keith so loved to 
paint, and in the doing of which he so greatly excelled. In the 
background the last glow in a sunset sky sends its light on the 
road for the sheep and the shepherd. This picture is expressive 
of fine, poetic feeling and’ is a symphony in soft brown and red 
tones. 


Canvas. Signed. Height, 22 inches; width, 28 inches. 


LOCOR ges Rit . 


Qarpr BESIDE THE STILL WATERS 


A dreamy, poetic atmosphere of incomparable rest and serenity 
pervades this canvas. The still waters, wherein the contented 
cattle have slaked their thirst, glide gently across the foreground 
of the picture, soft verdure and trees clothe the banks. A hazy 
sky and drifting clouds are over all, making perfect the feeling 
of restfulness with which the artist has imbued the canvas. 


Canvas. Signed. Height, 18 inches; width, 26% inches. 


12 


aa eu bed 20 
/KSO q / APRIL SHOWERS age 


Sunlight and shadow play a pretty game of hide and seek on 
this canvas. A fertile, fruitful valley, pregnant with the coming 
of spring, lies bathed in the fickle April sunshine. To the left 
is a clump of leafy trees and rough, weather-stained boulders, to 
the right a rolling hillside, its crest lost in a mantle of menacing 
gray clouds. In this painting Keith has shown himself the mas- 
ter of cloud eeffcts. Great masses and banks of cloud overhang 
the entire sky, save in one spot where the soft folds have been 
rent apart. ‘Through this ‘ragged aperture the arrant sunlight 
spills, drenching the jagged edges of the storm clouds in a silver 
sheen and the land below in the sheer joy and gladness of spring. 
There is a fleeting, evanescent charm to this picture, a lure to the 
imagination. It brings a bit of a smile and a promise of tears, 
and the irresistible call of spring. 


Academy Board. Signed. Height, 30 inches ; width, 40 inches. 


13 


) 
6004 A. Thapesped = 


= MT. TAMALPAIS 2 
vay Another interpretation of spring. Laqunitas County has given 


the artist his inspiration in this painting. A peaceful valley, 
quick with the first flush of spring, lies shimmering in the soft 
sunlight, its breadth spanned by the limpid waters of a tranquil 
stream. Against the background, looming dimly out of the morn- — 
ing mist, may be seen the familiar blue outlines of Jamalpais: 
The canvas is sweet and fragrant with the breath of early spring. 


Canvas. Signed. Height, 22 inches; width, 28 inches. 


Pay aoa. j PAP. 
vy K BY, O- %. bam G, 
MEADOW 
CALL xX Rich in tone, deep in feeling, Keith here expressed his sincerity 


as an artist in unmistakable manner. ‘The tiny cabin nestling 
among the trees, the two small figures beside the quiet stream 
which flows by its door, depict a phase of life which doubtless 
the artist frequently saw in his long tramps through the wilds 
of California, and such scenes left an indelible impression upon 
his heart, which is revealed again and again upon his canvas. 
The warmth of tone and sympathy make this one of his gems. 


Ye 


Canvas. Signed. Height, 22 inches; nidth, 26 inches. 


x sf ee odd i CARMEL BAY 
Vi x Romance is drawn in with every breath in the vicinity of Carmel 


Bay. ‘The short path in the foreground of Keith’s beautiful can- 
vas is doubtless the one that was trod so often by the sandalled 
feet of Father Junipero. The familiar stunded pines and cypress 
trees so faithfully depicted. the promontory in the distance, are 
familiar and dear to the lover of California landscapes and _his- 
tory. “Carmel Bay” is Keith at his best. A glorious canvas, 
full of svmpathetie feeling and soft color. 


Canvas. Signed. Height, 50 inches; width, 40 inches. 


14 


HARVEST 


This canvas is quick with the lacy warmth of an autumn day. 
In the shelter of a group of trees in the foreground sits a woman 
keeping solicitous watch over the two small boys frolicking near- 
by. The western sky with its orange-lined clouds is hung like 
a brilliant curtain in the background, screening the mysteries of 
the beyond, and against its glowing beauty the piled up hay 
wagon in the middle distance looms like a huge, dark blot. The 
farmer atop of his fragrant load is adding a last forkful before 
turning his team toward home. ‘The ardent glories of autumn 
are shown in the rich russet tones of the foliage, while the even 
gloom beneath the trees forms a setting of indescribable beauty 
for the jewel-like little pool which flames forth in reflected light 
from its rim of bending grasses. Peace and plenty are joyously 


expressed in this charming rural symphony. 


Canvas. Signed. Height, 25 inches; width, 30 inches. 


¢ 


15 


24, Son 3X X 


I60 1 Ve. Weauthe ofr 25 


awlyy EVENING HOUR 


Twilight has wrapped this peaceful meadow in a mantle of slum-_ 


berous quiet, the falling dusk intensifying the dark green of 
the grass and foliage. The fast fading glow of sunset lingers in 
a golden benediction on the warm clouds which roughen the sur- 


face of the blue night sky, and knee deep in the placid waters of — 


a little pool the patient cattle stand and wait. Shadowy trees 
rise on all sides hemming in the restful spot, while one young 
sapling, more ambitious than the rest, rears its graceful head, 
plumelike, against the heavens. The painting demonstrates a 
masterly knowledge of Nature and her varying moods. 


Canvas. Signed. Height, 20 inches; width, 30 inches. — 


SSE ODO = 1.0 lJavegp Az 


ip KKX 


NEAR SAN RAFAEL 


This painting was made by Mr. Keith during the time that Mr. 
Inness spent with him in California. Each artist made a paint- 
ing, neither seeing the work of the other while it was in progress. 
When the paintings were completed they compared them. The 
pictures were almost fac-similes. The painting by Mr. Inness 
is known by the same title. The foreground is green—Keith 
green—divided by the still waters of a small stream where cattle 
have gathered to drink at noonday. A tall eucalyptus and some 
oak trees are on the right. At the left smaller oaks, with the 
smiling valley in the bright sunlight at the foot of the foothills 
beyond. <A blue sky through the clouds speaks of a California 


springtime. 


Canvas. Signed. Height, 22% inches; width, 33% inches. 


16 


ee 


ts D4 SO 4 a K Serna 
/ 


27 
THE OAKS OS XxX 


A country closely carpeted with rank, soft grass sweeps back in 
the distance to where the last warm lights signal the sun’s pass- 
ing. In the foreground towers a mighty oak, beneath is a lonely 
figure absorbed in the approaching night. There is a droop to 
the shoulders, a touching wistfulness in the unconscious pose, a 
note of patient resignation in the bowed head, which bespeak the 
presence of heartache and the added pangs of memory; here rests 
a woman with soul keyed to all the aching loneliness of the soli- 
tudes, to whom the remote places make an irresistible appeal. 
Beyond the slim, scattered tree trunks to the right may be seen 
a thickly wooded stretch, its fastnesses already black with the 
shadows of night, and through the lacework of foliage above the 
blue-green night sky, clouds cast a lingering light on the fast 
darkening scene. Under the trees dusk lies thick, obscuring the 
details of tiny grass blades and flower faces. The nocturnal 
quality is handled with rare sympathy, and the appeal which it 
made to the artist is subtly conveyed to the beholder from the 
miniature glade on the canvas. 


Me 


Canvas. Signed. Height, 40 inches; width, 50 inches. 


17 


A9oo- 28 
ax UM bicd re GOLDEN HERITAGE 

S 3 _ Midsummer, cloaked in its golds and browns, lured the artist to 
inspiration in this painting. In the midst of a grove of great- 
limbed trees a shallow stream wanders aimlessly away into the 
distance. Rough, yellowish grass, tinged with green where the 
shade is deepest, carpets the grove, and through a break in the 
foliage may be seen the far-away mountains. An atmosphere of 
lazy warmth pervades the scene, to which the drowsy cows at 
the waterside add a harmonious note. ‘Through the trees may 
be glimpsed a sky of incomparable blue, its surface swept by 
billowing clouds. 


hae me 


TTeight, 40 inches; width, GO inches. 


awe EVENING SOLITUDE 
Twilight has settled over the secluded glen and its beautiful 


trees. The golden afterglow gleams through the trunks of trees 
and reflects itself in the waters of a tiny stream, and falls upon 
the cattle greedily grasping their last wisps of grass before : 
wending their way homeward. In the distance the western rim 
of the sky glows with a strange vellowish-green lustre. 


Canvas. Signed. Height, 22 inches; nidth, 28 inches. 


18 


/100- ae 


Nb. Glhuis TWILIGHT HOUR anyr 


A rich bit of meadow land framed in lordly oaks lies wrapped 

_. in the breathless hush which presages the falling night. At the 

edge of the wood nestles a homely farmhouse, toward which the 

slowly moving cattle in the foreground are wending their way. 

- Along the horizon the glow of an already departed sun flaunts 

=, a last message. Higher up in the sky the glow changes chamel- 

gs | eon-like, to lose itself in the greenish-blue of evening’s sky, its 

opalescent surface swept by reddish-golden clouds. Here we 

have a canvas teeming with atmospheric quality, a rural poem 
in sunset tones. 


Canvas. Signed. Height, 20 inches; width, 26 inches. 


3p Javed 2-laet coe 


THE ALEXANDER PRESS, 114-116 WEST 27TH ST... NY. 


